show that he himself brings something to the scene which later he takes away from it, that oftener than not what he imagines to be the account of an event is really a transfiguration of it. Few facts in consciousness seem to be merely given. Most facts in consciousness seem to be partly made. A report is the joint product of the knower and known, in which the role of the observer is always selective and usually creative. The facts we see depend on where we are placed, and the habits of our eyes.
An unfamiliar scene is like the baby's world, "one great, blooming, buzzing confusion."[1] This is the way, says Mr. John Dewey,[2] that any new thing strikes an adult, so far as the thing is really new and strange. "Foreign languages that we do not understand always seem jibberings, babblings, in which it is impossible to fix a definite, clear-cut, individualized group of sounds. The countryman in the crowded street, the landlubber at sea, the ignoramus in sport at a contest between experts in a complicated game, are further instances. Put an inexperienced man in a factory, and at first the work seems to him a meaningless medley. All strangers of another race proverbially look alike to the visiting stranger. Only gross differences of size or color are perceived by an outsider in a flock of sheep, each of which is perfectly
- ↑ Wm. James, Principles of Psychology, Vol. 1, p. 488.
- ↑ John Dewey, How We Think, p. 121.
of numbers, for example, the size of a crowd. In the untrained observer, the sense of time is highly variable. All these original weaknesses are complicated by tricks of memory, and the incessant creative quality of the imagination. Cf. also Sherrington, The Integrative Action of the Nervous System, pp. 318–327.
The late Professor Hugo Münsterberg wrote a popular book on this subject called On the Witness Stand.
